chapter  10
10 Pages

On Consciousness and the Subconscious in an Actor’s Creative Process

In everyday life, a person is ready to receive or bring any kind of news-at any moment. The same should be true of the stage. As time goes by, we will learn, without preparation, to meet the challenges of the most passionate moments of the role. You must become intimate with the role. Dreaming about the role should become a habit. I come to rehearsals prepared. You must not forget that I can only

experience and demonstrate a particular place in your role once. You must be ready to perceive it. If you are not capable of perceiving what I give you today, it is forever lost to you. If you are not greedy, not prepared for perception, it is impossible to become inseminated with the role. Now, how should you work upon your role at home? Let us suppose that I don’t know how I must perform a particular

place in a role. I pose a question to my subconscious; I give material to my subconscious, so that it can answer my question. The subconscious contrives an answer out of this material. You want to make do only with the material that I give you. But this is not enough. If things continue this way, everyone who comes to see our performance will say, “someone else created the form of this role.” The actors’ individualities are missing. Ladies and gentlemen, do become convinced in the necessity of

conscious homework and gain faith in the work of the subconscious in rehearsal. Have you ever been reading a book in class, hiding it under your desk? This unrelated reading is our work on the role-in the street, at work, at home, anywhere in life. When something distracts you from this “unrelated reading,” you use any opportunity, any free minute, to go back.